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Hella Bailin Hella Bailin Visceral Impressions Chosen from an archive of more than two thousand oil paintings, watercolors and drawings, this is the first comprehensive exhibition of Hella Bailin’s artwork since her passing in 2006. Held at the Kean University Art Gallery from February 7, 2007 to March 9, 2007, it is indeed the first time her artwork is being shown without her personal input. One can imagine the transformation as these paintings now have to live on their own. The artist no longer can influence the way her own work is perceived. It is the object or painting that causes us to respond. To Hella Bailin’s credit, the work is now free to speak for itself and it is a privilege to begin the dialog with this exhibition. As curator, I had a very unusual opportunity, to encounter Hella Bailin’s personal collection of works created over a lifetime. Additionally, to ponder the many pieces that were sold, given away or perhaps lost or even destroyed is an interesting process as well. When choosing this show I had the liberty to indulge myself, perhaps connecting with works that had been neglected for decades. I will never know which pieces were her favorites, which pieces she thought might sell or which pieces were made in the truest moments when the artist creates out of the very essence of who they are — moments when self-consciousness is replaced with connection — connection with the greater world, connection with the greater scope of humanness. Bailin knew those moments and captured them most effectively on the small sheets of watercolor paper, and in her sketchbooks in distant lands. Looking at these works you sense the visceral nature of her work. She was in the moment, creating a connection not making a memory. You can imagine her hair blowing in the wind as she quickly touched brush to paper and liquid color. So effectively she brings us to that moment of creativity, capturing the world that many Hella Bailin in her studio c. 1960 of us will not take time to engage. Hella Bailin said of herself — “Influenced by my surroundings, I draw most of the subject matter from humankind, conveying their moods, feelings and anxieties to the viewer without preju- dice or sentimentality, portraying people of all ranks and ages in their environment, depicting their activities at work and play.” Bailin exhibited her work extensively in the region winning over 100 awards. She showed many times in New York City at the National Academy of Design, the National Arts Club, and the Lever House. Bailin was a member of many organizations including the National Association of Women Artists, the Audubon Artists, the American Watercolor Hella Bailin c. 1960 Society, and the Allied Artists of America. In addition, her work was shown in museums throughout New Jersey including the State Museum in Trenton, the Morris Museum, the Monmouth Museum and the Montclair Art Museum. Hella Bailin also applied her artistic skills to the illustration of children’s books, and was known for teaching drawing and painting classes and leading workshops. For most of her life Hella Bailin lived very near what is today, the Kean University campus. She was a beloved member of the community and even taught some classes in the art department. Her influence is felt to this day as people smile and grin at the mere mention of her name. Hella Bailin’s paintings hang at Kean Hall in the President’s office. These particular images depict the Kean family estate when it was still a farm, before anyone had thought the property would one day become the site of a leading institution of higher learning. With such artworks we are politely remind- ed of our place in history and the continuum of life. Balconies date unknown Watercolor 11" x 8" I want to thank the Bailin family for making this exhibition possible. Son Michael, and daughter, Bobbi, generously opened their personal space and made all 39 works in the exhibition available to loan for this show. Sarah Bailin, granddaughter, whose many months of organizing, cataloging, photographing and preserving the family collection represent an amazing effort. Many thanks to the President of Kean University, Dr. Dawood Farahi, the Provost, Dr. Vinton Thomson and the Dean of the School of Visual and Performing Arts, Dr. Carole Shaffer-Koros. We appreciate their support for “I draw most of the subject matter from humankind, conveying their moods, the growing exhibition program and the opportunity to investigate the work and career of Hella Bailin. feelings and anxieties to the viewer without prejudice or sentimentality, portraying people of all ranks and ages in their environment, depicting their activities at work and play.” Hella Bailin Professor Neil Tetkowski - Hella Bailin Director of University Galleries KEAN UNIVERSITY Cover: People, c. 1983, Watercolor 15" x 23" Hella Bailin Arc of an Artist Hella Bailin’s life (1915-2006) spanned major periods of radiating light achieve the equilibrium of quiet. The influence of A similar post-impressionist style is found in several paintings of before her, the change of scenery to foreign locales provoked a subject), producing drawings and watercolors with spontaneity upheaval in art history. Through cubism and expressionism, Edward Hopper (1882-1967) is clearly evidenced in the picture, a village on a precipice in Ronda, Spain. A prime example from transformation in the perception and use of color. Bailin’s and freshness found in artists that one finds in the modern surrealism to social realism, Bailin’s art absorbed the influences and there also is a strong connection in iconography to the that series is Iberian Landscape (1985). palette became brighter and more intense, due to the strong movement. The tradition of plein air (working out doors) became from those modern movements and shaped her unique imagery. nineteenth century French realist Gustave Courbet (1819-1877) — In this picture the dwellings are perched upon the steep Mediterranean and Aegean light, and she learned to fashion the impetus that gave birth to modernity that has been in play Born in Germany, Bailin studied at the Reiman School and the and to Bailin the realist. cliffs like sculptures on a rocky pedestal, facades bleached in her own vision from the examples set by her predecessors. since the Barbizon artists such as Jean Francois Millet (1814- Art Academy in Berlin (1933-36). Leaving Nazi Germany in 1937, In Courbet’s monumental Burial at Ornan (1850), the artist the strong Mediterranean light in contrast to the orange ceramic Though expressionistic in style, Bailin was a realist by nature, 1875) and Theodore Rousseau (1812-1867) and filtering through she immigrated to the United States. In New Jersey, Bailin trained positions the crucifix above the horizon, symbolizing the heavenly barrel roof tiles. painting the modern world around her. For example, in People the impressionists Claude Monet (1840-1926) and Camille Pissarro (1830-1903). under John Grabach at the Newark School of Fine and Industrial above the mortal. In Bailin’s painting, the same crucifix is depicted In her search for the exotic, Hella Bailin made many wide (Telephone Booths, 1983), Bailin confronts the viewer with five Arts as well as Bernard Gussow with the period architecture, in the realm of the worldly, of the here ranging journeys, including twenty-nine trips to Greece where figures, three of which are in various stages of chatting on the There is the sense of joy in the clarity of light that extends to (1881-1957) and Stanley Turnbull and now. she created a studio and home on the island of Hydra. Though phone. One can liken the tableau to a modern version of a the artist’s watercolor pictures of Greece — winding back alleys, (1896-1986). In speaking of her art, Bailin said, “I am considered an expres- her love for her family was unwavering, Bailin left them each Hellenistic Greek relief with the figures in various stages of arcades, and apartments. Complimentary, keyed-up colors, vivid As a teacher of painting and sionist painter… capturing the fleeting moments of people and summer to pursue her need for exotic subject matter and intense leaning in and out overlapping the “niche” of the phone booth. shadows, and a glaring light infuse the paintings with the sensual drawing, Bailin enthusiastically sharing these pictorial documentations of our times.” In Hills of light in her art; not only to Greece, but to the south of France, The forms and figures are heightened by intense orange strokes qualities revealed by Bailin in those Aegean villages. and swipes at motion and modernity. Bailin said of this painting passed on the knowledge she New Jersey (c. 1955), Bailin’s expressionistic vision is infused with Spain, and Portugal. There were travels to South and Central Gathering date unknown Watercolor 12" x 18" Many of Bailin’s paintings and watercolors were inspired by acquired from so many sources to the color of Fauvism — the invented and expressive use of color America, Mexico, Haiti, China, Tibet, India, Iran, and Eastern “The constant change of people in and out of telephone booths her need to commit the visual pleasures encountered during her her hundreds of students over five by a group of artists led by Henri Matisse (1869-1954) begun in Europe — forty-nine countries in all. It was Bailin’s were instrumental for many of my paintings…I always look for arcade, Bailin achieves a comparable sense of animation from far reaching travels on to paper. She created a play of light and decades. Bailin’s rigorous but gentle 1905 — and the knitted structure of post-impressionist Paul unrelenting drive to know the world and its people and to movement in a composition…”.
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